Jessica Moseley's expertise lies in music theory, ear training and
theories of form. Her research interests include the 12-tone music of
Alberto Ginastera, theories of composing out in post-tonal music, and
theories of form concerning the concerto genre. In addition to teaching
private lessons, she has taught courses in music theory, ear training,
and keyboard at Hofstra University and the University of Cincinnati.
Moseley has served on the Music Theory Midwest board and delivered a
paper for the regional society. She was also invited to speak about her
views on integrating group piano, theory, and ear training curricula at
the National Group Piano and Piano Pedagogy Conference.

Faculty Courses Taught

Name

Title

Description

MUS-106

Piano Class I

First year piano for students with little or no keyboard knowledge. Early study is devoted to keyboard orientation and functional keyboard skills. Later, the study of the styles and literature of the piano is pursued through standard repertoire.

MUS-111C

Basic Musicianship I: Keyboard

Introduction to music fundamentals, basic principles of voice leading, and harmonic progression through development of complementary skills in analysis, composition, improvisation, music technology, sight-singing, ear training, and at the keyboard.

MUS-112A

Bsc Musicianship II: Written

Ongoing study of voice leading, diatonic harmony, basic modulation, and small forms through continued development of complementary skills in analysis, composition, improvisation, music technology, sight-singing, ear training, and at the keyboard.

MUS-112B

Basic Musicianship II: Aural

Ongoing study of voice leading, diatonic harmony, basic modulation, and small forms through continued development of complementary skills in analysis, composition, improvisation, music technology, sight-singing, ear training, and at the keyboard.

MUS-112C

Bsc Musicianship II: Keyboard

Ongoing study of voice leading, diatonic harmony, basic modulation, and small forms through continued development of complementary skills in analysis, composition, improvisation, music technology, sight-singing, ear training, and at the keyboard.

MUS-211A

Bsc Musicianship III: Written

Ongoing study of voice leading, chromatic harmony, advanced modulation, and small forms through continued development of complementary skills in analysis, composition, improvisation, music technology, sight-singing, ear training, and at the keyboard.

MUS-211B

Basic Musicianship III: Aural

Ongoing study of voice leading, chromatic harmony, advanced modulation, and small forms through continued development of complementary skills in analysis, composition, improvisation, music technology, sight-singing, ear training, and at the keyboard.

MUS-211C

Bsc Musicianship III: Keyboar

Ongoing study of voice leading, chromatic harmony, advanced modulation, and small forms through continued development of complementary skills in analysis, composition, improvisation, music technology, sight-singing, ear training, and at the keyboard.

MUS-212A

Bsc Musicianship IV: Written

Overview of large musical forms and of contemporary compositional techniques through continued development of complementary skills in analysis, composition, improvisation, music technology, sight-singing, ear training, and at the keyboard.

MUS-212B

Basic Musicianship IV: Aural

MUS-212C

Bsc Musicianship IV: Keyboard

Faculty Tab 3 description

I believe it is my job to encourage and guide students in drawing
connections between the music they love and the music they are required
to study. The analytical and aural skills I teach in my classroom are
designed to improve the way my students listen to, interpret, discuss,
and perform music. Managing the wide-ranging learning styles and
abilities of the students in my classroom is important to me: I approach
new concepts from a variety of perspectives-historical, analytical,
aural, spatial, tactile-and encourage students to build upon their
individual strengths in order to make improvements in other areas.

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